How to Perform for Orcs
'How to Perform (for Orcs) '''is the first publication written by Anema E. Core, written originally in hand and then copied in both Common and Elven and distributed to various libraries in the realm. Dedication "''For Enel" Forward "This book is about how to be a bard. If you want to be a bard, read it. I don’t want to be a bard and thus have not read it." -Zugs McFlair, Owner of McFlair Manor I. Introduction Performing is one of the most challenging and exhilarating professions in our realm. Many of us spend hours trying to learn how to perform and most of us get nowhere. If you have a desire to perform in your life then you have come to the right. All your friends will love and admire you forever, and it is not that hard, even an orc can do it! Moreover, you can trust me, because I am a bard. My name is Anema and I am one of the Bards of Amusa from the Core lineage. My grandfather practically invented story telling. He would wander around the countryside and ask for a warm meal and a place to sleep in exchange for a story. My family line goes back to the Great Davinius, the inventor of the practical music we know today. My parents and I own the first opera house in Amusa and the whole realm: The House of Balthazar Impresario. II. Stories of my Fathers The first know historical tradition of my great grandfather is told from the point of view of a boy in a small town of Amusa. The account is generations old. My great grandfathers walked from town to town and house to house looking for a family whose spirits were up and were looking for a story to hear. Every sense he was young, the boy heard stories of my great grandfather, and one night he appeared at his doorstep. Wonderfully, it was the boy who saw him first. He glanced out of his bedroom window, then looked again and harder -- and dared to hope. No, it was not a trick of the light; a tall figure in a ragged black coat and a ruined old hat was walking down the darkening hillside; and he was heading toward the house. The stranger's face was chalk-white with exhaustion, and he stumbled on the rough ground, his hands held out before him like a sleepwalker's. He looked like a scarecrow deserting his post. High grasses soaked his cracked boots and drenched his coat hems. A mist like a silver veil floated above the ground, broke at his knees, and reassembled itself in his wake. In this twilight fog, mysterious shapes appeared and dematerialized, so that the pale walker was never sure he had seen merely the branches of trees or the arms of mythic dancers come to greet him. Closer in, the dark shadows of the tree trunks twisted into harsh and threatening faces. Across the fields he saw the yellow glow of lamplight in the window of a house, and he raised his eyes to the sky in some kind of thanks. With no fog on high, the early stars glinted like grains of salt. He became aware of cattle nearby, not yet taken indoors in this mild winter. Many lay curled on the grass where they chewed the cud. As he passed, one or two lurched to their feet in alarm and lumbered off. And in the house ahead, the boy, nine years old and blond as hay, raced downstairs, calling wildly to his father. The stranger's bones hurt, and his lungs ached almost beyond endurance. Hunger intensified his troubles; he'd eaten one meal in three days. The calm light in the window ahead pulled him forward in hope. If he held their attention, he might get bed and board for a week -- and maybe more. In the days of the High King at Tara, a storyteller stayed seven days and seven nights. Did they know that? Nobody knew anything anymore. With luck, though, the child in this house would help. Children want stories, and the parents might stretch their hospitality, fired by the delight in the boy's eyes. Unlike last night's billet; high up on a hill farm, he had slept in a loft above the cows, where the east wind got at his bones. The ignorant people there, who had no use for stories, gave him no food and closed their fireside to him. It happened more and more. But this house would surely prove better; and it was, after all, Halloween, the great time of the year for telling stories, the time of All Souls', when the dead had permission to rise from their graves and prowl the land. Over the last few hundred yards the fog dispersed into flitters and wisps. At the house, a small white gate opened from the lane into a country garden, which in summer would shine with bunched roses and morning glories and tresses of sweet pea. The tall man in the black coat rapped twice on a brass knocker. Immediately, the husband of the house opened the door. "Aha!" The stranger and the householder exchanged a solid handshake, eye to eye. Behind his father, the boy waited in the hallway, jigging from foot to foot. "God save all here," said the stranger; he hunched his shoulders nervously. Over the years, his voice had grown deep and rotund. His manner and speech had an unusual formality, with trace elements of stately English from an earlier century and a hint of classical learning. Consequently, his language rang generally more colorful than the speech of the people he met every day. The man of the house smiled and stood aside. "Come in. You brought clear skies to us." "With your permission, I'll bring clear thoughts too." "Your coat is wet -- let me take it." The man extended a cold, bony hand to the boy peeking around his father's waist. "A fine boy. God save you too, ma'am!" called the Storyteller to the woman of the house. She looked irked, and he guessed that he, this stringy, unwashed man, with skin like canvas, would disrupt her rigorous household; nonetheless she set a place for him while her husband, pleased and comfortable, poured the visitor a drink. The boy watched the stranger attacking the food like a tired hound. He sensed that the man's hunger fought with the man's decorum. Nobody spoke because the newcomer seemed too famished to be interrupted. The boy examined the man's face, saw the long, thin scar, wondered if he had been in a knife fight, perhaps with a sailor on some foreign quayside. And the sodden boots -- in his mind he saw the stranger fording streams, climbing out of gullies, traversing slopes of limestone shale on his endless travels across the country. Did he have a dog? Seemingly not, which was a pity, since a dog could have sat guard by the fire at night. Did the man ever sleep in caves? They said that bears and wolves had long been extinct in Ireland -- but had they? That evening, in that white house among the fields, a boy's most passionate dream came true. His father had long talked of the traveling storytellers. He said they possessed brilliant powers; they brought the long-gone past to life vividly, without what he called "the interference of scholars. Those professors," he said. "They dry out history in order to put it down on paper." In his father's view, a tale with the feeling taken out of it had "no blood and was worth very little." III. The Importance of Music to the Realm IV. Instruments and Their Origins: The Lute & Mandolin V. The Organ & Piano VI. The Harp & Fiddle VII. Wind Instruments: Flute, Pan Pipe, etc. VIII. Percussion IX. Dance X. Comedic Oratory XI. Vocal Performance XII. Prose XIII. Show the Realm XIV. History of music XV. Authors notes. Behind the Screen * The story Anema tells in the early chapters is taken from Frank Delaney's Ireland